济南国际摄影双年展第三届高校邀请展
“微芒成阳 ”亚太地区高校摄影邀请展
—北京印刷学院、山东工艺美术学院
艺术总监：曾毅
总策展：张辉、黄荣华(土耳其)、柳银珪(韩国)
学术主持：姚璐
联合策展人：史民峰
北京印刷学院
北京印刷学院的摄影教育始于2004年，以本校印刷出版和文化创意产业资源开始了高质量图片摄影教育，并积累了雄厚的影像教育资源。本专业在媒体时代，强调影像和新媒体、设计的学科交叉，特色为“和新媒体应用相结合的影像创作与商业应用”。拥有专业师资队伍和影棚、影像编辑、特效制作等专业实验室，配套有大批专业摄影及影视拍摄相关设备。学生作品先后多次获得摄影比赛重要奖项，多次受邀参加大型展览和专业展览，作品被多家国内外机构收藏，在高校摄影教育领域拥有广泛的影响。本专业与欧美多所大学有国际合作，拥有美术学一级学科(影像艺术方向)和艺术设计(媒体影像方向)硕士招生点，以及多名硕士生导师，为学生进一步深造提供了广阔的舞台。
Beijing Institute Of Graphic Communication
The photography education of Beijing Institute of printing began in 2004. With the resources of printing and publishing and cultural creative industry, Beijing printing University started high-quality photo photography education, and accumulated abundant image education resources. In the media age, this major emphasizes the interdisciplinary intersection of image, new media and design, and features "image creation and commercial application combined with new media application". It has professionalteachers and studios, image editing, special effects production and other professional laboratories led by famous domestic photographers. It also has a large number of professional photography and film and television shooting related equipment. Students' works have won important awards in photography competitions for many times, and have been invited to participate in large-scale exhibitions and professional exhibitions for many times. Their works have been collected by many domestic and foreign institutions, and have a wide influence in the field of photography education in Colleges and universities. This major has international cooperation with many universities in Europe and America. It has a master's enrollment point of first-class discipline of Fine Arts (image art direction) and art design (media image direction), as well as a number of master's tutors, providing a broad stage for students to further study.
史民峰 Shi Minfeng
教授、硕士研究生导师，北京印刷学院美术馆馆长，北京印刷学院设计艺术学院党委书记，影像艺术家。中国摄影家协会摄影教育委员会委员，中国高等教育学会摄影专业委员会监事、中国工业设计协会信息与交互设计专业委员会副主任委员。主持国家艺术基金《摄影手工制作工艺青年传承人培养计划》、国家社科基金艺术学项目和国家社科基金后期资助项目等研究课题，多次举办个人艺术展，作品被国内专业机构和个人收藏。
曾主持获得北京市教育教学成果奖一等奖，国家社科基金艺术学项目通讯评审、会议评审专家，国家社科基金后期资助项目（艺术学）通讯评审专家，第27届全国摄影艺术展览评委。
《丽日》
《Sunny Day》
《泉》
《Spring》
《挑山工》
泰山是山东最著名的山脉，泰山文化是东方文化的体现，“会当凌绝顶一览众山小”，“国泰民安”是大家口口相传人人熟知的。作品以“挑山工”这一泰山文化中的独特职业作为拍摄内容，以视觉语言将自己观察、感受的“挑山工”记录下来，展现“挑山工”背后赋予的时代内涵，让更多的人了解、关注到这一职业，感悟其背后的精神。
拍摄挑山工时，还以为还如小时候一样，他们是一个规模庞大的职业群体，经过多方面了解和实地调研却发现，随着经济的发展，很少有人愿意吃这份苦，挑山工人数锐减，经过调研发现目前只有十几个人在从事这一职业，且年龄均在55岁左右，当他们退休后，泰山将不会再有这一职业。
徐伟韬 Xu Weitao
《不流束蒲》
作品拍摄于福建闽江两岸，闽江作为贯穿福建的母亲河，无论是古人的生息，还是近代的开埠，再到现代化的发展，闽江都扮演着重要的角色，生活于闽江两岸的人民，目睹着闽江流域地区的发展。在时代的洪流下，我们就像成捆的枝条，无论江流的缓急，都不会轻易被冲走，坚韧又热烈的生活在这片土地，努力观察并追随它的节奏与改变。
这一母亲河，是否也有叹息？
《Do Not Flow Bunched Pupa》
The works are filmed on both sides of the Fujian Minjiang River, the Minjiang River as the mother river running through Fujian, whether it is the life of the ancients, or the opening of the port in modern times, and then to the development of modernization, the Minjiang River plays an important role, living on both sides of the Minjiang River, witnessing the development of the Minjiang River Basin area. Under the torrent of the times, we are like bundles of branches, no matter how slow the river is, it will not be easily washed away, tenacious and enthusiastic life in this land, trying to observe and follow its rhythm and change.
Does this mother river also have sighs?
卜祥壮 Bu Xiangzhuang
《 城市相面师》
首都，被赋予了文化中心和国际交往中心的战略定位，这座城市人民的日常生活，是其城市独有优势与核心价值的结构性体现。在当前新媒体网络传播日新月异之时，照片在教导我们新的视觉准则的同时，也改变和扩大了，我们对什么才值得看和我们有权利去看什么的观念。
作品《城市相面师》是以北京都市为创作研究对象，用一种纪实的手法去描述我们的日常生活，平凡而又简单，透过照片我们需要反思“我们怎样在城市的内部去理解城市？”“城市对于我们意味着什么？”。
《Urban Facelift 》
The capital, which has been given the strategic positioning of a cultural center and an international exchange center, the daily life of the people of the city is a structural embodiment of its unique advantages and core values. At a time when new media networks are changing with each passing day, photographs, while teaching us new visual guidelines, have also changed and expanded, our perceptions of what is worth seeing and what we have the right to see.
The work "Urban Facers" is based on the city of Beijing as the object of creative research, using a documentary approach to describe our daily life, ordinary and simple, through the photo we need to reflect on "how do we understand the city inside the city?" "What does the city mean to us?".
山东工艺美术学院
山东工艺美术学院摄影专业秉承“天工开物，匠心独运”的校训精神，落实“创新与实践教学体系建设”，积极构建“培养创新型、应用型摄影人才”，加快课程改革，树立课程建设新理念。制定具有前瞻性的课程体系。强化现代信息技术与教育教学的深度融合。
摄影专业成功参与举办了济南国际摄影双年展、齐鲁国际摄影周、世界大学生摄影艺术展；多次参加平遥国际摄影大赛、连州国际摄影大赛、丽水摄影节、全国高校摄影艺术展、山东省高校摄影大赛等专业赛事。
经过20多年的发展，摄影专业形成了创新与实践并重的教学体系，注重开发学生的创意思维，提高实际操作能力；与国内外多所高校摄影专业建立合作关系，交流形式多样，通过展览、合作课程项目等形式加深校际合作，为学生提供交流机会，丰富创作语境。
Shandong University of Art & Design
The photography major of Shandong Institute of Arts and Crafts adheres to the spirit of the school motto of "nature creates things and ingenuity", implements "innovation and practice teaching system construction", actively constructs "training innovative and application-oriented photography talents", speeds up curriculum reform, and establishes a new concept of curriculum construction. Develop a forward-looking curriculum system. Strengthen the deep integration of modern information technology and education and teaching.
The photography major successfully participated in the Jinan International Photography Biennale, Qilu International Photography Week, and the World University Photography Art Exhibition; He has participated in Pingyao International Photography Competition, Lianzhou International Photography Competition, Lishui Photography Festival, National University Photography Art Exhibition, Shandong University Photography Competition and other professional events for many times.
After more than 20 years of development, the photography major has formed a teaching system that pays equal attention to innovation and practice, pays attention to developing students' creative thinking, and improves their practical operation ability; It has established cooperative relations with photography majors of many universities at home and abroad in various forms of communication, deepened inter school cooperation through exhibitions, cooperative course projects and other forms, provided students with communication opportunities and enriched the creative context.
丛海亮 Cong Hailiang
丛海亮，副教授，研究生导师。摄影专业负责人。曾获得山东工艺美术学院年度重大工作先进个人， 摄影作品多次在摄影大赛或展览中获一等奖 ，多次获得优秀指导教师奖、获批课题立项、担当摄影比赛大赛评委，也多次组织或参于山东省摄影国际双年展等展览，并参与多个摄影研讨会和学术论坛。
《拢》
骚动的灵魂游荡在未知之境，灵光处处，来自不同信源的波段交织迂回，生命的角色被重新排列，就这样凝固在这些瞬间里。
《Close》
The turbulent soul wanders in the unknown, and the aura is everywhere. Wavebands from different sources are intertwined and circuitous. The roles of life are rearranged, and thus frozen in these moments.
王培蓓 Wang Peibei
山东工艺美术学院副教授，硕士研究生导师。中国美术家协会会员。毕业于澳大利亚昆士兰美术学院，中央美术学院访问学者；美国纽约洲访问学者。国家艺术基金青年创作人才资助项目获得者。研究方向为当代摄影创作及其媒介拓展。作品参与国内多个摄影节展览。参与美国纽约州摄影展“the state photography”；波特兰摄影展；法国摄影展“women bear it all”；英国，澳大利亚等群展，多次参与并策划济南国际摄影双年展海外单元。
《月光》
《月光》是身在异乡的创作。换个角度和方式记录身边的日常所见。最原始的自制小孔成像方式，将雪后-20多度的冬日响晴的景致纳入画面。经过手工冲洗的树影记录下异乡为异客的平静心绪和些许的思念。
《 Moonlight》
Moonlight is the creation of living in a foreign land. Change the angle and method to record what you see everyday. The most original self-made pinhole imaging method integrates the sunny winter scenery of more than - 20 degrees after snow into the picture. The manually washed shadow of the tree records the calm mood and a little missing of a stranger in a foreign land.
汪鲁华 Wang Luhua
《屏幕生存》
不得不承认，图像饱和化时代，屏幕作为其载体也正逐步与我们的生活交融且不可分割。在线上虚拟服务成倍增加的当下，一定程度上加剧了人与人，人和社会的真实距离。面对每天抬眼可见的屏幕社会，是我创作本作品的初衷，这些巨大的光屏，像无形的光罩，对我进行着身体和心理的不断侵蚀。
当人们对世界的认知全部来自于屏幕，我们就会失去对真实世界的探索，而无条件地相信屏幕为我们创造的幻觉，这无疑是一种精神伤害。我希望借此作品使公众意识到我们感知现实世界的能力正在逐渐下降；我们的注意力、我们的身体、我们的精神、我们的能量正在被侵蚀。我想，从这一点上来说，我们必须要提高警惕。
《Screen survival》
We have to admit that in the era of image saturation, the screen, as its carrier, is gradually blending with our life and is inseparable. The real distance between people and between people, people and society, has been exacerbated to some extent by the multiplication of online virtual services. It is my original intention to create this work to face the screen society that is visible every day. These huge light screens, like invisible masks, are constantly eroding my body and mind.
When people's cognition of the world comes from the screen, we will lose our exploration of the real world and unconditionally believe in the illusion created by the screen for us, which is undoubtedly a spiritual injury. I hope to use this work to make the public aware that our ability to perceive the real world is gradually declining; Our attention, our body, our spirit and our energy are being eroded. I think, from this point of view, we must be vigilant.
张晓霞 Zhang Xiaoxia
《聚焦》
不知从何时起，我们开始意识到自己或身边人焦虑的频率越来越高。“容貌焦虑”“身材焦虑”“价值焦虑”等等名词频繁出现，以女性问题为代表，焦虑的来源大多来自于自身对“容貌”“身材”等类的不自信所导致的，常常被各种“美的浪潮”所影响，想要把自己塞进同一个美的模板里，作为女性，面对外界形形色色的审美声音，我们该如何从“被审视”中抽离呢？
《Focusing》
I don't know when we began to realize that the frequency of anxiety of ourselves or people around us is getting higher and higher. The terms "appearance anxiety", "body anxiety", "value anxiety" and so on frequently appear, represented by women's problems. Most of the sources of anxiety come from their own lack of confidence in "appearance", "body" and other categories. They are often affected by various "beauty waves", and want to put themselves into the same beauty template. As women, they face various aesthetic voices from the outside world, How should we withdraw from "being examined"?
宋文霞 Song Wenxia
《囚》
动物园中的“人为环境”是人们通过自身的理解，尽力地还原大自然中的环境来满足动物的生活需要，但这或许并没有达到动物的预期，成为了捆绑它们的“枷锁”。人们当初设立动物园是为了保护动物，这是人们的初衷，但是在这种“人为环境下”，动物表现出来的孤单、无聊甚至绝望，似乎与人们的初衷背道而驰。
作为一个旁观者，我以客观冷静为前提，通过选取不同的拍摄角度，抓拍特定环境下的动物情绪，尝试解构动物情感，引发对自由的进一步理解。
《Imprison》
The "artificial environment" in the zoo is that people try to restore the natural environment to meet the needs of animals' lives through their own understanding, but this may not meet the expectations of animals and become a "shackle" to bind them. People originally set up zoos to protect animals, which is people's original intention. But in this "man-made environment", animals show loneliness, boredom and even despair, which seems to run counter to people's original intention.
As a bystander, I try to deconstruct animal emotions and trigger a further understanding of freedom by choosing different shooting angles to capture animal emotions in specific environments on the premise of being objective and calm.
